Global Fashion Industry: Italy PRACT-UG 9200 Wednesdays, 10:30 A.M

Total Page:16

File Type:pdf, Size:1020Kb

Global Fashion Industry: Italy PRACT-UG 9200 Wednesdays, 10:30 A.M Fall 19 – Global Fashion Industry: Italy PRACT-UG 9200 Wednesdays, 10:30 a.m. - 13:15 p.m. Classroom Location: Villa Ulivi – Aula Firenze Class Description: Prerequisites: none. Global Fashion Industry: Italy will provide students with a deep understanding of the contemporary fashion industry in Italy, as well as of Italy's position in the global fashion arena. The course will drive students through the entire lifecycle of the fashion business, from forecasting trends to retailing, through design, sourcing, product development and production. Particular attention will be dedicated to different marketing aspects of the process, such as: identity building, brand positioning, merchandising, buying, costing, communication. All levels of retail, from luxury to mass market will be covered. The course will end with an analysis of the new challenges, such as sourcing globalization, emerging markets, sustainability and growing significance of technology. A strong effort will be put into organizing site visits to studios, showrooms and factories, as well as meeting with professional players. Each session will be structured to give students an overview of a particular stage of the Industry, through a mix of lectures from the course leader and visiting professionals, studio and showroom visits, walking tours, reading assignments and practical projects. Instructor Details: Name: Marco Semeghini NYUGlobalHome Email Address: [email protected] Office Hours: Wednesdays, 10:30 a.m. – 13:15 a.m. Villa Ulivi Office Location: top floor Villa Ulivi Phone Number: +39 055 5007 300 Desired Outcomes: On completion of this course, students should: ● Have improved their ability to think critically, engage in complex reasoning and express their thoughts clearly through their written work. Page 1 of 11 ● Have improved their understanding of the roles involved in the fashion business, and the key approaches and issues pertinent to each of them. ● Have mastered a basic understanding of each stage of the fashion development process. ● Be able to present an independent analysis of the Italian fashion industry and its composite sectors. Assessment Components: Attendance and Participation: 20% Mood board assignment and oral presentation: 20% Flagship store assignment (midterm): 20% Final project development: 25% Final project presentation: 15% Failure to submit or fulfill any required course component results in failure of the class. The assignments will be: 1. The creation of a design mood board – atmospheres, colors, shapes – for an Italian brand. Students, divided in groups, will present the board in a 15-minute oral presentation. They will prove their understanding of the brand identity codes, and show their interpretation of a possible brand evolution. (Team project) 2. A critical analysis of the Florentine retail reality, as perceived from a customer point of view (3 double-spaced, typewritten pages). (Individual project) 3. The relaunch strategy for an existing, but somehow faded, Italian brand (such as Elsa Schiaparelli, Fiorucci, Enrico Coveri, Gianfranco Ferrè, or Krizia). (Class project) It will be a Powerpoint (or similar) document developed by the entire class that will show: Knowledge of the brand’s history and understanding of its identity codes; Vision of a possible future positioning, including: o product and price strategy; o communication and distribution strategy. In the last session of the course, each student will present a part of the class project, with the aim to prove knowledge of the subject and analytical skills. Self-confidence and fluency in presentation will also be taken into consideration. Assessment Expectations: Grade A: The student makes excellent use of empirical and theoretical material and offers structured arguments in his/her work. The student writes comprehensive essays/exam questions and his/her work shows strong evidence of critical thought and extensive reading. Grade B: The candidate shows a good understanding of the problem and has demonstrated the ability to formulate and execute a coherent research strategy Grade C: The work is acceptable and shows a basic grasp of the research problem. However, the work fails to organize findings coherently and is in need of improvement Grade D: The work passes because some relevant points are made. However, there may be a problem of poor definition, lack of critical awareness, poor research Page 2 of 11 Grade F: The work shows that the research problem is not understood; there is little or no critical awareness and the research is clearly negligible Grading Guidelines: A = 94-100 A minus = 90-93 B plus = 87-89 B = 84-86 B minus = 80-83 C plus = 77-79 C = 74-76 C minus = 70-73 D plus = 67-69 D = 65-66 F = below 65 Grading Policy: Please refer to Assessment Expectations and the policy on late submission of work. Academic Accommodations: Academic accommodations are available for students with documented disabilities. Please contact the Moses Center for Students with Disabilities at 212-998-4980 or see the Moses Center for further information. Students with disabilities who believe that they may need accommodations in a class are encouraged to contact the Moses Center for Students with Disabilities at (212) 998-4980 as soon as possible to better ensure that such accommodations are implemented in a timely fashion. For more information, see Study Away and Disability. Attendance Policy: Study abroad at Global Academic Centers is an academically intensive and immersive experience, in which students from a wide range of backgrounds exchange ideas in discussion-based seminars. Learning in such an environment depends on the active participation of all students. And since classes typically meet once or twice a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centers is mandatory, and unexcused absences will be penalized with a two percent deduction from the student’s final course grade. Students are responsible for making up any work missed due to absence. Repeated absences in a course may result in failure. Page 3 of 11 For courses that meet once a week, one unexcused absence will be penalized by a two percent deduction from the student’s final course grade. For courses that meet two or more times a week, the same penalty will apply to the number of class times over a single week. Excused Absences: In case of absence, regardless of the reason, the student is responsible for completing missed assignments, getting notes and making up missed work in a timely manner based upon a schedule that is mutually agreed upon between the faculty member and the student. The only excused absences are those approved by the Office of Academic Support; they are as follows: Absence Due to Illness If you are sick, please see a doctor. Contact the Office of Student Life for assistance. For absences that last for two or more consecutive days,a doctor’s certificate, “certificato medico” is required. The doctor will indicate in writing the number of days of bed rest required. Please note these certificates can only be obtained on the day you see the doctor and cannot be written for you afterwards. Absences can ONLY be excused if they are reported WITHIN 48 HRS of your return to class via the online NYU Florence Absence Form OAS will not accept a student email or telephone call regarding an absence due to illness OAS will only notify faculty of absences REPORTED on the ABSENCE FORM The Office of Student Life, when assisting you in cases of severe or extended illness, will coordinate with the Office of Academic Support to properly record your absences Due to Religious Observance Students observing a religious holiday during regularly scheduled class time are entitled to miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday Information regarding absences due to religious observance must be provided at least SEVEN DAYS PRIOR to the date(s) in question using the online NYU Florence Absence Form Please note that no excused absences for reasons other than illness can be applied retroactively. Due to a class conflict with a program sponsored lecture, event, or activity All students are entitled to miss one class period without any penalty to their grade in order to attend a lecture, event or activity that is sponsored by the academic program Information regarding absences due to a class conflict must be provided at least SEVEN DAYS PRIOR to the date(s) in question using the online NYU Florence Absence Form Please note that no excused absences for reasons other than illness can be applied retroactively. Page 4 of 11 Students with questions or needing clarification about this policy are instructed to contact a member of the Office of Academic Support located in Villa Ulivi or to email [email protected] Late Submission of Work: All course work must be submitted on time, in class on the date specified on the syllabus. To request an extension on a deadline for an assignment, students must speak to the professor one week prior to the due date To receive an incomplete for a course at the end of the semester, two weeks before final exams, both the student and the faculty member must meet with the Assistant Director of Academic Affairs to review the request and if granted, they must both sign an Incomplete Contract detailing the terms for completing missing coursework. Plagiarism Policy: PLAGIARISM WILL NOT BE TOLERATED IN ANY FORM: The presentation of another person’s words, ideas, judgment, images or data as though they were your own, whether intentionally or unintentionally, constitutes an act of plagiarism. In the event of suspected or confirmed cases of plagiarism, the faculty member will consult first with the Assistant Director for Academic Affairs as definitions and procedures vary from school to school.
Recommended publications
  • The Worth Directory
    Innovation Fusion Collaboration THE WORTH DIRECTORY 152275_TEXT_AW_AMENDS.indd 1 29/10/2015 11:12 Funded by the European Commission to develop competitive- ness in small fashion businesses, the Worth project specialises in cross border creative and manufacturer collaborations, aiming to innovate new fashion and lifestyle products in order to maximise assets derived from the resource and skill base of Europe. With an express aim of creating innovative products to prototype stage, the result is 34 unique European enterprising partnerships managed jointly by Centre for Fashion Enterprise at London Col- lege of Fashion and Institut Français de la Mode: fusions of tra- dition and invention; craft and technology; hand and machine; history and modernisation across fashion, textiles, jewellery, eye- wear, footwear, furniture, fur and leather lifestyle product catego- ries. WORTH facilitates connections between factories, designers and manufacturers across the regions to access and cross fertilise the broad range of skills and know-how that define Europe as a high-level fashion industry resource base. CREATIVES & DESIGNERS CREATIVES & DESIGNERS CREATIVES & DESIGNERS COMPANY NAME Company type Country Email Ana Rajcevic Artist UK [email protected] Andrea Crews Fashion & France [email protected] Creative Brand Anne Sofie Madsen Fashion Denmark [email protected] Designer Apologie Footwear France [email protected] Designer Bonnie Kirkwood Ltd Textile UK [email protected] Designer Boulezar Fashion Germany [email protected]
    [Show full text]
  • Press Release 05.06.2021
    PRESS RELEASE 05.06.2021 REPURCHASE OF OWN SHARES FOR ALLOCATION TO FREE SHARE GRANT PROGRAMS FOR THE BENEFIT OF EMPLOYEES Within the scope of its share repurchase program authorized by the April 22, 2021 shareholders' meeting (14th resolution), Kering has entrusted an investment service provider to acquire up to 200,000 ordinary Kering shares, representing close to 0.2% of its share capital as at April 15, 2021, no later than June 25, 2021 and subject to market conditions. These shares will be allocated to free share grant programs to some employees. The unit purchase price may not exceed the maximum set by the April 22, 2021 shareholders' meeting. As part of the previous repurchase announced on February 22, 2021 (with a deadline of April 16, 2021), Kering bought back 142,723 of its own shares. About Kering A global Luxury group, Kering manages the development of a series of renowned Houses in Fashion, Leather Goods, Jewelry and Watches: Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, Brioni, Boucheron, Pomellato, DoDo, Qeelin, Ulysse Nardin, Girard-Perregaux, as well as Kering Eyewear. By placing creativity at the heart of its strategy, Kering enables its Houses to set new limits in terms of their creative expression while crafting tomorrow’s Luxury in a sustainable and responsible way. We capture these beliefs in our signature: “Empowering Imagination”. In 2020, Kering had over 38,000 employees and revenue of €13.1 billion. Contacts Press Emilie Gargatte +33 (0)1 45 64 61 20 [email protected] Marie de Montreynaud +33 (0)1 45 64 62 53 [email protected] Analysts/investors Claire Roblet +33 (0)1 45 64 61 49 [email protected] Laura Levy +33 (0)1 45 64 60 45 [email protected] www.kering.com Twitter: @KeringGroup LinkedIn: Kering Instagram: @kering_official YouTube: KeringGroup Press release 05.06.2021 1/1 .
    [Show full text]
  • Registration Document INCLUDING the ANNUAL FINANCIAL REPORT 2016 CONTENTS
    Registration Document INCLUDING THE ANNUAL FINANCIAL REPORT 2016 CONTENTS 1 5 PRESENTATION OF THE GROUP 5 FINANCIAL STATEMENTS 135 1.1 / Fnac Darty: creation of a leader 6 5.1 / Groupe Fnac’s consolidated financial statements 1.2 / History 9 as of December 31, 2016 and 2015 136 1.3 / Markets 12 5.2 / Notes to the consolidated financial statements 1.4 / Strategic vectors 15 for the year ended December 31, 2016 142 1.5 / Activities 18 5.3 / Parent company financial statements 210 1.6 / Property portfolio and equipment 27 5.4 / Notes 214 1.7 / Research and Development, patents and licenses 28 5.5 / Material change in financial or commercial position 225 5.6 / Report of the Statutory Auditors on the annual 2 financial statements 226 5.7 / Report of the Statutory Auditors on the consolidated CORPORATE SOCIAL AND ENVIRONMENTAL financial statements 227 RESPONSIBILITY 29 2.1 / Our commitments 30 6 2.2 / Methodology note 31 RISK FACTORS 229 2.3 / Social information 33 6.1 / Strategic and economic risks 230 2.4 / Environmental information 42 6.2 / Operational risks 232 2.5 / Societal information 51 6.3 / Market risks 236 2.6 / Report of the independent third‑party 6.4 / Financial risk 238 on the consolidated social, environmental 6.5 / Insurance 239 and societal data in this Management Report 55 6.6 / Risk management 241 3 7 CORPORATE GOVERNANCE 57 INFORMATION ON THE COMPANY, 3.1 / Administrative, executive and supervisory bodies 58 3.2 / Functioning of the administrative CAPITAL AND SHAREHOLDERS 243 and supervisory bodies 69 7.1 / The Company 244
    [Show full text]
  • Spring 21 – Global Fashion Industry: Italy PRACT-UG 9200 Wednesdays, 15:30 P.M
    Spring 21 – Global Fashion Industry: Italy PRACT-UG 9200 Wednesdays, 15:30 p.m. - 18:15 p.m. Daylight Savings Time starts in Europe on March 27,2021 Blended Villa La Pietra, Le vedute Spring 2021 We know that you may be taking courses at multiple locations this semester. If you are enrolled in this course 100% remotely and are not a Go Local/Study Away student for this course site, please make sure that you’ve completed the online academic orientation via NYU Classes so you are aware of site specific support, policies and procedures. Please contact [email protected] if you have trouble accessing the NYU Classes site. If you are attending in person, you will be instructed to choose your seat on the first day and are expected to use that seat for the entire semester due to NYU COVID-19 safety protocol. Class Description: Prerequisites: none. Global Fashion Industry: Italy will provide students with a deep understanding of the contemporary fashion industry in Italy, as well as of Italy's position in the global fashion arena. The course will drive students through the entire lifecycle of the fashion business, from forecasting trends to retailing, through design, sourcing, product development and production. P articular attention will be dedicated to different marketing aspects of the process, such as: identity building, brand positioning, merchandising, buying, costing, communication. All levels of retail, from luxury to mass market will be covered. The course will end with an analysis of the new challenges, such as sourcing globalization,Sample emerging markets, sustainability and Syllabusgrowing significance of technology.
    [Show full text]
  • DOWNLOAD PDF BUILDINGS PROJECTS Size
    Arch. Piero Castiglioni Via Presolana 5 20135 Milano, Italia Tel. (+39)025513223 e-mail: [email protected] pec: [email protected] web site: www.pierocastiglioni.com BUILDINGS 1975 Italy, Island of Elba Marina di Campo - Iselba Residence - general lighting coll. Arch. R. Menghi 1975 Spain, Bilbao - Mosel Showroom - general lighting coll. Arch. C. Boeri 1975 Spain, Bilbao - Missoni Boutique - general lighting coll. Arch. Gregotti Associati 1976 Italy, Milan - Marisa Boutique - general lighting coll. Arch. Gregotti Associati 1977 Saudi Arabia, Jeddah - Meridien Hotel - general lighting coll. Arch. C. Casati 1978 Italy, Monte Argentario - Nursery School - general lighting coll. Arch. G. Aulenti 1978 Italy, Rome - Tivoli Leathers Showroom - general lighting coll. G. Marotta, P. Bassanin, G. Gentilucci 1980 Italy, Foligno - Town Hall - lighting for some operative rooms coll. Arch. D. Ripa di Meana 1980 Italy, Lenno - The Municipal Library - general lighting coll. Arch. R. Menghi 1981 Italy, Cascia - S. Rita Sanctuary - general lighting coll. Arch. Scrinieri 1981 Italy, Cesano Maderno - Mariani Showroom - general lighting coll. Arch. G. Azzarello 1982 Italy, Milan - Naj Oleari Boutique - general lighting 1982 Syria, Damascus - Al Cham Hotel - common parts and outdoor lighting 1983 Italy, Milan - Morassuti Showroom - general lighting coll. Arch. D. Puppa, B. Raggi 1983 Italy, Turin - Chaplin Cinema - general lighting coll. Arch. Gatti 1983 Italy, Milan - Gran Ciclismo Cinelli Showroom - general lighting coll. Arch. D. Puppa, B. Raggi 1983 Italy, Milan - Misani Jewelery - general lighting coll. Arch. De Pas, D’Urbino, Lomazzi 1983 Italy, Saint Vincent - Casinò de la Vallée e Hotel - common parts and restaurant lighting coll. Studio D. A. 1983 France, Nanterre, Paris - Théatre des Amadiers - general lighting coll.
    [Show full text]
  • Universal Registration Document Including the Annual Financial Report Contents
    2019 UNIVERSAL REGISTRATION DOCUMENT INCLUDING THE ANNUAL FINANCIAL REPORT CONTENTS 1 5 PRESENTATION OF THE GROUP 5 FINANCIAL STATEMENTS AFR 191 1.1 / Fnac Darty: our model NFPD 65.1 / Group consolidated fi nancial statements 1.2 / History 14 as of December 31, 2019 and 2018 192 1.3 / Fnac Darty markets and offering 22 5.2 / Notes to the consolidated fi nancial statements 1.4 / Group strategy: Confi ance+ 30 for the year ended December 31, 2019 198 1.5 / Property portfolio and equipment 44 5.3 / Parent company fi nancial statements 280 1.6 / Regulatory environment and changes 45 5.4 / Notes 283 1.7 / Research and Development, patents and licenses 45 5.5 / Material change in fi nancial or commercial positions 297 5.6 / Auditors’ Report on the consolidated fi nancial statements 298 2 5.7 / Auditors’ Report on the annual fi nancial statements 305 CORPORATE SOCIAL RESPONSIBILITY NFPD 47 Introduction 48 6 2.1 / Risks associated with business developments RISK FACTORS AND INTERNAL CONTROL 309 in the sector 52 2.2 / Risks associated with changes in consumer patterns 61 6.1 / Strategic and economic risks 312 2.3 / Risks associated with the environmental impacts 6.2 / Operational risks 315 of the activities conducted 69 6.3 / Legal and regulatory risks 319 2.4 / Risks associated with the integrity of Fnac Darty 6.4 / Financial risks 321 and its partners 80 6.5 / Insurance 322 2.5 / Nature & Découvertes: a strategic acquisition 6.6 / Risk management NFPD 324 that is in line with Fnac Darty’s values 87 2.6 / Methodology note 88 2.7 / Independent Third-Party
    [Show full text]
  • An Adventure of Enterprise
    An adventure of enterprise Above all, PPR is the incarnation of a state of mind: the desire and willingness to display entrepreneurship. With boldness and a sense of risk, PPR invests and commits itself to its various businesses, always directed at the same goal: to grow its activities and become the leader. It imposes on each of its brands and companies its own demanding culture of growth and performance. With revenues of nearly € 18 billion in 2006 , PPR is a world leader in two different, but complementary universes: Luxury Goods and Retail. The diversity of its brands and businesses drives its success. Its specifi c balance in terms of products, sales formats, brands, and geographical locations has generated a growth profi le surpassing the average in its markets. Open to the world and backed by the skills and talents of its 78 ,000 employees, PPR makes expertise the core of its development and values and promotes an entrepreneurial spirit. It is a group with cutting-edge talents ahead of its time. As a responsible corporate citizen, it guarantees the conduct of its brands and places human values at the centre of its commitments. 2 2006 FINANCIAL DOCUMENT - PPR Sommaire 1 PPR in 2006 5 2 The Group’s activities : Luxury Goods and Retail 21 3 Financial Information 68 2006 FINANCIAL DOCUMENT - PPR 3 4 2006 FINANCIAL DOCUMENT - PPR 1 PPR in 2006 HISTORY 6 KEY CONSOLIDATED FIGURES 8 THE PPR GROUP 10 A leading player 10 Positioning and strategy 10 Group organisational chart as of 31/12/2006 11 2006 FINANCIAL DOCUMENT - PPR 5 1 PPR IN 2006 History History Established in 1963 by François Pinault in the timber and building material businesses, the PPR group positioned itself in the middle of the 1990s in the Retail sector, in which it soon became a major player.
    [Show full text]
  • Knowthehcain I Questions Regarding Forced Labour Risks in Your Company’S Leather Supply Chain
    KNOWTHEHCAIN I QUESTIONS REGARDING FORCED LABOUR RISKS IN YOUR COMPANY’S LEATHER SUPPLY CHAIN In countries including but not limited to Pakistan, Bangladesh and India, leather processing is characterised by hazardous and poor working conditions, which may be early indicators or eventually lead to forced labour.1 In countries including India and China forced labour risks have been documented. Through this questionnaire, KnowTheChain would like to get a better understanding of how your company is addressing risks related to forced labour specifically in its leather supply chain. In answering these questions, please indicate where your company’s policies or practices specifically apply to cattle sourcing, leather processing or leather goods manufacturing countries at risk of forced labour and human trafficking such as Brazil, China and India2 or other countries where you might have identified forced labour risks. Traceability: 1. Leather goods manufacturing: a. In which countries does your company and/or your suppliers manufacture leather goods (option to indicate percentage or volume of supply from each country)? b. What are the names and addresses of your company’s and/or your suppliers’ leather goods manufacturers? Please indicate the nature of your relationship to them, e.g. direct owned or purchasing only (option to indicate workforce data you deem relevant, such as workforce composition (e.g. percentage of informal/migrant/female workforce) or rate of unionisation). What are the names of the persons legally responsible for the production facilities? 2. Leather processing / tanneries: a. In which countries does your company and/or your suppliers process and produce leather? b. What are the names and addresses of your company’s and/or your suppliers’ tanneries? Please indicate the nature of your relationship to them, e.g.
    [Show full text]
  • Spring 19 – Global Fashion Industry: Italy PRACT-UG 9200 Wednesdays, 9:00 A.M
    Spring 19 – Global Fashion Industry: Italy PRACT-UG 9200 Wednesdays, 9:00 a.m. - 11:45 a.m. Classroom Location: Villa Ulivi – Aula Firenze Class Description: Prerequisites: none. Global Fashion Industry: Italy will provide students with a deep understanding of the contemporary fashion industry in Italy, as well as of Italy's position in the global fashion arena. The course will drive students through the entire lifecycle of the fashion business, from forecasting trends to retailing, through design, sourcing, product development and production. P articular attention will be dedicated to different marketing aspects of the process, such as: identity building, brand positioning, merchandising, buying, costing, communication. All levels of retail, from luxury to mass market will be covered. The course will end with an analysis of the new challenges, such as sourcing globalization, emerging markets, sustainability and growing significance of technology. A strong effort will be put into organizing site visits to studios, showrooms and factories, as well as meeting with professional players. Each session will be structured to give students an overview of a particular stage of the Industry, through a mix of lectures from the course leader and visiting professionals, studio and showroom visits, walking tours, reading assignments and practical projects. Instructor Details: Name: Marco Semeghini NYUGlobalHome Email Address: [email protected] Office Hours: Wednesdays, 9:00 a.m. – 11:45 a.m. Villa Ulivi Office Location:SAMPLE top floor Villa Ulivi Phone Number: +39 055 5007 300 Desired Outcomes: On completion of this course, students should: ● Have improved their ability to think critically, engage in complex reasoning and express their thoughts clearly through their written work.
    [Show full text]
  • Alexander Mcqueen
    1 Alexander McQueen Brand Audit Jonathan Quach 2 Lee Alexander McQueen founded his brand in 1992, and decided to name it after his middle name Alexander due to his long time friend Isabella Blow. She was convinced that it would give off a more memorable impression, something to the likes of Alexander “The Great”. Isabella was an incredible influence in the success of the Alexander’s career, she had all of the contacts he needed and was instantly enthralled when she saw his first graduation collection from Central Saint Martins. She even bought the entire collection. The headquarters for his company is located in London, United Kingdom. Gucci Group acquired 51% of the Alexander McQueen brand in December of 2000. Kering, which is a French luxury goods holding company that also owns Gucci, has acquired many luxury brands since its inception, and on the Forbes Global 2000 they are McQueen’s ranked at number 763. Gucci provided Alexander McQueen with the necessary flagship store on Bond Street resources to expand the brand such as management and infrastructure. They planned on expanding into sectors such as accessories, fragrances, and ready-to-wear clothing. Alexander McQueen being a very luxurious brand that offers high-end couture, decided to widen its market with the addition of McQ. McQ is targeted toward the youthful spirit of street wear, while trying to maintain the McQueen look. The line is meant to appeal to the youth also by its price point. It is generally cheaper, but still upholds the McQueen aesthetic. Originally, it was under another label, SINV Spa, but then Alexander McQueen resumed full control of McQ in October of 2010.
    [Show full text]
  • Gucci: Flattening Women Through Patriarchal Heteronormativity
    Running head: GUCCI: FLATTENING WOMEN 1 Gucci: Flattening Women Through Patriarchal Heteronormativity Sara R. Freitag Approaches to Rhetorical Criticism Dr. Antonio T. De La Garza Fall 2017 GUCCI: FLATTENING WOMEN 2 Abstract The purpose of this paper is to employ feminist ideological framework and Creative Analytic Practice in evaluating the inferior positionality that women are subjected to through Gucci’s 2003 and 2010 advertising campaigns. My paper enters intellectual discourse surrounding fashion photography and contributes toward the discussion by explicating ways women are flattened physically, visually, and metaphorically. Previous analyses have touched on these topics, but there has been lack of precision and gravity in regard to implications. Furthermore, no research has been presented in regard to Gucci’s perpetuation of such ideals. Hegemonic masculinity’s prevalence is evident, as it pervades every aspect of culture. Though women’s fashion photography targets a primarily female audience, patriarchal heteronormativity implicitly and explicitly undermines women’s autonomy. The “male gaze,” which is evident in all forms of media, is particularly pervasive in women’s fashion photography. Conclusions convey that Gucci’s portrayal of women gives way to the illusion that the female half of the population is of little worth, to be subordinated by the dominant male population. The message being sent is that women, through physical, visual, and metaphorical means, are solely an image. GUCCI: FLATTENING WOMEN 3 Gucci: Flattening Women Through Patriarchal Heteronormativity Women have been flattened. They have been flattened physically, visually, and metaphorically at the command of oppression’s chief watchdog, otherwise known as fashion photography. Fashion photography presented by such brands as the prestigious and equally idolized Gucci strip women of freedom, identity, and voice.
    [Show full text]
  • 80S 90S FACING BEAUTIES. Italian Fashion and Japanese Fashion at a Glance
    80s 90s FACING BEAUTIES. Italian Fashion and Japanese Fashion at a Glance. Museo della Città - Ala Nuova Rimini 11 ottobre - 8 dicembre 2013 Considerations After a Fashion Exhibit by Simona Segre Reinach. (Associate Professor of Fashion Studies, University of Bologna, Rimini Campus). Fashion curation has become a central preoccupation within fashion studies. Several articles have been written on the subject - illustrating the development, ambivalences and controversies that such a practice entails: the controversy about Diana Vreeland (Steele 2008), the role of exhibitions within the “new fashion history” (M. Riegels 2011, C. Breward 2008), the theoretical (and visual) ambivalences in representing West and East in fashion (Fukai 2010). Nowadays curation seems to be a particularly hot issue in fashion theory. The popularity of fashion in museums goes hand in hand with a new broader reception of what constitutes art, as well as a growing interest in fashion studies. (Fukai 2010b, Riegels 2011). Moving from dress museology to fashion museology entails a change into the practice and methodologies of curation (M. Riegels 2011). This is because fashion exhibits are more and more attracting people in museums and because, for both scholars and students, it is a way of experimenting with the materiality of fashion. It can be argued that there is a continuum, rather than a separation, between different ways in which fashion is exposed: retail, catwalk shows, fashion blogs are all involved in curation - that is in choosing the ways in which to transfomr cloths and garments into specific fashion statements. On the other hand, the experience of professional fashion curators is totally crucial in deciding what is a real exhibit, and what it is just a communication device.
    [Show full text]